Collection
Serial/Series Title
19th century American music periodicals
59
New-York Musical Review and Gazette.
58
Oeuvres de J. Haydn
14
Grand quatuor pour deux violons, alto e violoncelle: œuvre posthume
4
Repertoire de Léopold de Meyer
4
Six quintetti pour piano, avec accompagnement de deux violons, alto et violoncel
4
Dictionary of Music and Musicians
3
Quatours de Boccherini - Mozart
3
Le nozze di Figaro: dramma giocoso in quattro atti
2
El teatro: colección de obras dramáticas y líricas
1
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114 Songs
A collection of 114 songs set by Charles Ives, with lyrics by Ives and others. The back of the book contains a philosophical essay by Ives.
Date:
1922
Creator:
Ives, Charles, 1874-1954
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
1er quatuor, pour deux violons, alto et basse, oeuvre 5
Musical score containing the four parts of Charles Dancla's first string quartet, op.5 in F minor, written for two violins, with alto and bass.
Date:
182X
Creator:
Dancla, Charles, 1817-1907.
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80
This is a digital copy of the four parts of Charles Dancla's seventh string quartet, op.80 in D minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208).
Date:
186X
Creator:
Dancla, Charles, 1817-1907.
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Achille et Polixene, tragédie dont le prologue & les quatre derniers actes
Achille et Polixene, Jean-Baptiste Lully's last opera, premiered on 7 November 1687, eight months after Lully's death on March 22 of that year. Since the composer had only finished the overture and first act, the score was completed by Pascal Colasse, Lully's secretary and student, to a text by Jean Galbert de Campistron based on events in Virgil's Aeneid.
Date:
1687
Creator:
Collasse, Pascal, 1649-1709; Lully, Jean Baptiste, 1632-1687 & Campistron, Jean Galbert de, 1656-1723
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Achilles. An opera.
John Gay is credited with inventing the ballad opera, a genre that blends spoken plays and previously composed songs to new texts. Although The Beggar’s Opera (1728) was his most successful endeavor, he continued to compose English musical dramas. Achilles was finally performed in 1733, one year after Gay died. In this story, Achilles appears as a girl named Pyrrha, unknown to most of the inhabitants of the island of Scyros, in order to circumvent a prediction that he will die in battle. Deidamia (the king’s daughter) knows the secret, however, because she is carrying the disguised man’s child. After Achilles’s identity is revealed, he and Deidamia are able to wed. Then, in a fateful twist of irony, Achilles plans to join the Greeks in the Trojan War.
Date:
1733
Creator:
Gay, John, 1685-1732
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Acis and Galatea
This is a ca. 1743 score of Acis and Galatea, a musical masque (also considered an English pastoral opera) by Handel to a libretto by John Gay. The performance forces include: oboes (2), flauto [recorder], violins, basso continuo, and chorus of mixed voices (mostly soprano, three tenors and bass) and vocal soloists. On the front cover the name Morgan appears imprinted on a red stamp with golden ornaments and letters. The names Anna Maria [Lawes] and Mary Anne Morgan were written at the top of the title page and the inscription, "the gift [of] her uncle T. Morgan, 1808." Underneath the dedication: WH London, 1890.
Date:
1743
Creator:
Handel, George Frideric, 1685-1759
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Agenda Ecclesiae Moguntinensis
"Per reverendissimum in Christo patrem, et amplissimum principem, ac dominum, Dominum VVolfgangum, Archiepiscopum Moguntinum, S. Romani Imperii per Germaniam Archicancellarium, Principem Electorem, &c. Necessariis quibusdam additionibus auctior, et multis locis emendatior, iam denuò typis evulgata." Text in Latin and German, including tables, calendars, and a catechism in German, along with notated music. Two of the back end pages have handwritten notes, including a handwritten rendering of Psalm 129/130 ("De profundis clamavi...").
Date:
1599
Creator:
Catholic Church — Archdiocese of Mainz (Rhineland-Palatinate, Germany)
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Agenda Ecclesiae Moguntinensis
Agenda ecclesiae from the Catholic archdiocese of Mainz. This extensive volume includes calendars for movable feasts, a daily listing of feast days for commemoration, days for fasting and abstinence from eating meat, and instructions for priests on administering the sacraments, texts of various blessings and prayers, with text in Latin and German. The volume includes notated musical settings, and a catechism in German.
Date:
1599
Creator:
Catholic Church — Archdiocese of Mainz (Rhineland-Palatinate, Germany)
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Airs russes: fantaisie for the piano forte, op.43
Music score for Airs russes: fantaisie, written for the piano forte, part of opus 43 by Leopold von Meyer.
Date:
184X
Creator:
Meyer, Leopold von, 1816-1883
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Airs russes, [op.20]
Musical score for "Airs russes" written for piano by Leopold von Meyer, as part of opus 20. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de Meyer."
Date:
184X
Creator:
Meyer, Leopold von, 1816-1883
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Alceste
This is a ca. 1774 score of the opera "Alceste" by Anton Schweitzer based on a libretto by Christoph Wieland. The work premiered in Weimar in 1773. The plot was based on the Greek legend of Alcestis, on the subject of female virtue and conjugal love. The library's copy contains an engraved illustration that portrays a domestic scene. The score does not indicate the musical instruments and the music, which is notated in two, three or four staves, contains the German text underlaid with indication of the character who sings.
Date:
1774
Creator:
Schweitzer, Anton, 1735-1787.
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Alceste: tragedie opera en trois actes
According to Grove Music, "when Admetus, King of Pherae in Thessaly, is ill and about to die an oracle announces that he will be saved if someone else is willing to die in his stead. His wife Alcestis displays her conjugal devotion by offering herself; she dies and Admetus recovers. Under the influence of tragédie lyrique, Calzabigi enriched his libretto with choruses, ballets and opportunities for impressive scenery."
Date:
1776
Creator:
Gluck, Christoph Willibald, Ritter von, 1714-1787; Calzabigi, Ranieri de, 1714-1795 & Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Alexander's Feast or the Power of Musick.
A secular choral work in two parts for four soloists (SSTB) and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 bassoons, 2 trumpets, 3 violins, viola, violoncello, and continuo). The names of the vocal soloists (Mr. [John] Beard, Signora [Anna Maria] Strada, Miss. [Cecilia] Young, and Mr. Erard) are printed at the top of their designated songs.
Date:
1743
Creator:
Handel, George Frideric, 1685-1759 & Dryden, John, 1631-1700
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Amadis, tragedie en musique
Libretto of the 1684 opera "Amadis," by Philippe Quinolt. The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of "Amadis" at the Opéra in Paris on 18 January 1684. It was an immediate public success. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King.
Date:
1684
Creator:
Quinault, Philippe, 1635-1688
Object Type:
Book
System:
The UNT Digital Library
Amadis; tragedie, mise en musique
The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of Amadis at the Opéra in Paris on 18 January 1684. It was an immediate public success.
Date:
1684
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Amore fra' gl'impossibili
According to Grove Music, Gigli's 'Amore fra gli impossibili' is an eccentric work where "the pastoral setting is disturbed by mythological references and the addition of the characters Don Chisciotte and Coriandolo, in an ironic and grotesque atmosphere."
Date:
1693
Creator:
Gigli, Girolamo, 1660-1722 & Campelli, Carlo
Object Type:
Book
System:
The UNT Digital Library
Amour au village : opera-comique, en un acte, et en vaudeviles
Libretto for Charles-Simon Favart's 1754 opera L'amour au village. Charles-Simon Favart gained prominence for his parodies of extant operas during the middle of the eighteenth century. His L’amour au village (1754), a typical example of the genre, was based on Carolet’s L’amour paysan (1737). The parody technique consisted of setting new texts to existing melodies and writing new dialogue based on a familiar plot. L’amour au village includes a typical vaudeville finale. In the Virtual Rare Book Room’s volume, the melody is included along with the first verse’s text. Because vaudeville finales are strophic (with one repeated melody), the subsequent verses are numbered to indicate each time the melody should begin again.
Date:
1754
Creator:
Favart, M. (Charles-Simon), 1710-1792
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Les amours des dieux : ballet heroique
Mouret’s Les amours des dieux is classified as a ballet-heroïque, a type of opéra-ballet that was popular during the first half of the eighteenth century. Although the term ballet-heroïque suggests the prevalence of dance, drawing on the divertissement tradition, singing and acting are also integral parts of this genre. What distinguishes the opéra-ballet from the tragedie en musique is the use of separate plots for each entrée (comparable to an act). The segments are not entirely independent, however, in that there is typically a central, overarching idea.
Date:
1727
Creator:
Mouret, Jean Joseph, 1682-1738
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Andante for the piano forte, op. 42
Musical score of "Andante for the piano forte", part of opus 42 by Leopold von Meyer.
Date:
184X
Creator:
Meyer, Leopold von, 1816-1883
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Anna Bolena
Piano-vocal score for selections from Gaetano Donizetti's Anna Bolena, with libretto by Felice Romani.
Date:
18XX
Creator:
Donizetti, Gaetano, 1797-1848 & Romani, Felice, 1788-1865
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Antiqvæ mvsicæ avctores septem, Græce et latine, Marcvs Meibomivs restituit ac notis explicavit
Contents: I. I. Aristoxeni Harmonicorvm elementorvm libri III. II. Evclidis [i.e. Cleonidae?] Introdvctio harmonica. Euclidis Sectio canonis. III. Nicomachi Geraseni, Pythagorici, Harmonices manvale. IV. Alypii Introdvctio mvsica. V. Gavdentii, philosophi, Introdvctio harmonica. VI. Bacchii senioris Introdvctio artis mvsicæ.--v. II. Aristidis Qvintiliani De mvsica libri III. & Martiani Capellæ De mvsica liber IX.
Date:
1652
Creator:
Meibom, Marcus, 1630-1711
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Arianna e Teseo
Libretto of the opera seria "Arianna e Teseo" by Pietro Pariati. The story unfolds in the island of Crete where several young Athenian men are brought to be ritually sacrificed, and Athenian maidens are to be delivered as victims to a minotaur that lives in a labyrinth. Among the Athenians is Arianna, the daughter of Minos (Minosse), King of Crete, who was abducted as a child by King Aegeus, and Teseo, Aegeus's son. Teseo is determined to kill the minotaur in order to save Arianna's friend Laodice, but Arianna believes that he loves her friend. In spite of her doubts, she hands over to Teseo the secret how to kill the minotaur and vanquish Tauride, King Mino's champion, which she overheard from Minos. The work ends with Teseo's victory over the minotaur and his reconciliation with Arianna.
Date:
1764
Creator:
Pariati, Pietro, 1665-1733
Object Type:
Book
System:
The UNT Digital Library
Armide
Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
Date:
1686~
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Armide: drame héroïque
Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
Date:
1811
Creator:
Gluck, Christoph Willibald, Ritter von, 1714-1787 & Quinault, Philippe, 1635-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library